Cracking piece of... technology history and perspective, I guess, from Mike Johnston: a history of the 35mm film frame size, the things that threatened to unseat it, the ways it bounced back, and the ways other inventions embedded it in history. A really good Total Perspective Vortex of the history of a technology.

Yeah, that. See also 'drawing is thinking' - drawing exposes the paragraphs I left out of paragraphs I wrote. I've been writing documentation recently and boy, that properly forces you to think about how to describe the thing you're doing.

"All this to fit in, to belong." Alex is good people; this is excellent on all the little things to like - or not - about here, and yet to still love it. And - a reminder how little I know about having had to fit in anywhere else. I hope the gods of paperwork smile on her too. I'm still angry she's even had to go through this. I am still ashamed of all this Brexit nonsense.

Innovation comes from those who are happy to embark on a course of action without quite knowing where it will lead, without doing a feasibility study, without fear of failure or too much hope of reward. The engine of innovation is reckless generosity"

I couldn't quite pick a single line to quote, but I think I'll choose this. I've been listening to a lot of FCB this weekend, and it's all rung true for me. But especially: the value of serendipity on culture, of one thing informing another months or years later, of the value of pleasure and the imagination to all walks of life. So much here.

"...an unfailingly kind leadership protocol seems like a solid approach for a volunteer organization. You don’t hire your team and they likely come from a diverse backgrounds, so your ability to explain and guide is key. Your ability to convey credibility and be the expert as quickly as possible is paramount because volunteers leave… randomly. This makes the final trait essential: in the face of disaster, you remain the calm and focused leader. Disaster is a strong word, but in a world where volunteers are doing work they are choosing to do rather than work they must do, unexpected situations are the norm.

...Leadership is an outfit you choose for others to see and I choose unfailingly kind." Michael Lopp on management culture as perceived through Destiny, of all things. I particularly liked 'an outfit you choose for others to see'.

'I once asked an old friend, through a thick haze of smoke, what he liked most about a cigarette, to which he replied, "It frames a moment."' Will Davies on fine form; this is interesting and thoughtful and not so much about nicotine as it is about ritual.

"The printing press on its own did not create poetry, but by spreading poetry around it helped to create new poets. The steam engine on its own did not create the industrial revolution. Tools are made by people and when tools call out for revolution they will speak through people." Love this quotation - it's a good article, too.

This is a great piece of writing from Frank Chimero, if only because the thing it emphasises is not a brutal the-work-above-all-else approach, but a gentle talk on the same idea. And the thing I'm slowly shifting towards in the manner of my work (if not always the practice of it) is a particular kind of quiet gentleness: be kind; work hard; keep going. Gentle is underrated, and gentle is not the same as easy or soft-touch. It has value for all involved. Also: I loved the point where he wrote "you have to earn those words". Yes.

"A lot of the stuff going on just isn’t very ambitious. ‘The thing about the advertising model is that it gets people thinking small, lean,’ wrote Alexis Madrigal in an essay about start-ups in The Atlantic last year. ‘Get four college kids in a room, fuel them with pizza, and see what thing they can crank out that their friends might like. Yay! Great! But you know what? They keep tossing out products that look pretty much like what you’d get if you took a homogenous group of young guys in any other endeavour: Cheap, fun, and about as worldchanging as creating a new variation on beer pong.’" Still thinking on this article a bit. It touches on lots of things I have issues with - the startup scene, and in particular the US startup scene, and the usefulness of what it makes; wrestling with the idea that making IS value, something I do a lot; having watched recent Bret Victor videos, what something meaningful would work like. But also: it reminds me why I've chosen some of the work I have recently, that values are something you reassess and fight for, that value isn't just curing cancer or better pill bottles, but also charm and joy and wit and provocation and art. (It's probably not another niche dating service).

"...the whole thing comes to a head with the Louvre, the only building in the game with four culture slots and a truly dazzling theming bonus if you can match the specific criteria. Offering massive boosts to your stats, the Louvre is essentially the headshot of the cultural world." The overhauls to the cultural victory in the forthcoming Civ V expansion sound great. Also: the way Christian writes about it is great.

"i'm tired of feeling like i'm writing to 17 year olds when i write about games. if we can't accept a base level of validity to the thing we're talking about without having to constantly feel shame and prove and defend its existence, then i'm not interested in participating in discussions surrounding games. it's stupid and boring to have so much of the talk be constantly channeled through that. who cares what Roger Ebert or whoever else who never played a videogame thinks or has thought. games are games and they can do good or bad things depending on how they're used. they're only just one tool." Yes, all of this post, and this in particular. I like games; I also like books and films and art an all manner of things. Culture is culture, and I engage with it all in a pretty similar way. A nice piece of writing expressing that, though, and reminding us of the ways we _can_ engage with our cultures and media.

"That is how the internet first appeared to me: as shared experience of make believe and dreams. And while much has changed in the decade since: that slipperiness, those mutable boundaries, the capacity for experimentation and imagination still is here. The internet is made of dreams."

"This post is a look at the biggest downfalls of distributed startups - specifically the rise of monoculture, siloing of the workforce, isolation of management, expense of communication and loss of group context." Lots of great points, and well-observed counters; useful reading if you only ever work from home occasionally, let alone all the time.

"Culture is about power dynamics, unspoken priorities and beliefs, mythologies, conflicts, enforcement of social norms, creation of in/out groups and distribution of wealth and control inside companies. Culture is usually ugly. It is as much about the inevitable brokenness and dysfunction of teams as it is about their accomplishments. Culture is exceedingly difficult to talk about honestly. The critique of startup culture that came in large part from the agile movement has been replaced by sanitized, pompous, dishonest slogans." This is all very good.

"‫قلب‬ is a simple, Scheme-like programming language that you code entirely in Arabic. It is an exploration of the impact of human culture on computer science, the role of tradition in software engineering, and the connection between natural and computer languages." Somebody asked me at Four Thought about non-English programming languages, and I had to explain there really weren't many/any. This is a nice counterpoint, though it's as much a statement as a practical tool, I guess. Still: it's a statement about the thing I explained to the audience member.

"Popularity rules, and fitness for purpose is secondary. We even make up a little rationalization about this: “Our code must be easy to read for the next programmer, so we pick idioms that will be familiar.” That would make stellar sense if idioms are forever, but they aren’t. They come and go like trends in pop music, and Ruby Archeologists can accurately date a business application by examining its gemspec file." I liked this line of thought.

"The fascinating thing about the New Aesthetic could be that it was never new — it went from being unknown to being ubiquitous and thoroughly banal with barely a blink. The frisson of shock or wonder one experienced at seeing an aspect of the New Aesthetic out in the wild comes because that is the only time it will be noticed; afterwards it will pass unobserved. The New Aesthetic is not about seeing something new — it is about the new things we are not seeing. It is an effort to truly observe and note emergent digital visual phenomena before they become invisible." This is a really solid, careful piece from Will Wiles.

"Millions and millions and millions of people also love Gregory's Girl and OMD and Brookside and Underworld and Evelyn Glennie and the shipping forecast and that is deeply joyous and important." Yep, that.

"The [Manufactured Normalcy] Field is Rao’s attempt to explain the process of technical adoption. Rao argues that when they’re presented with new technological experiences people work hard to maintain a “familiar sense of a static, continuous present”. In fact, he claims that we change our mental models and behaviors the minimum amount necessary to work productively with the results of any change." Cracking post from Greg, which pretty much resists blockquoting, so go and read it all.

"The real Grim Meathook Future, the one I talked about back when I wrote that thing and the one I see now, is the future where a relatively small slice of our species lives in a sort of Edenic Eloi reality where the only problems are what we laughingly refer to as White People Problems, like being able to get four bars’ worth of 4G signal at that incredible pho joint that @ironicguy69 recommended on Twitter, or finding new ways to lifehack all the shit we own into our massive closets…while the rest of the world is reduced to maintaining our lifestyles via a complex process of economically-positioned indentured servitude and clinging with the very tips of their fingernails onto the ragged edge of our consumer leavings, like the dorky dude who shows up the first day of school with the cheap K-Mart knockoffs of the pumped-up kicks the cool kids are wearing this year. In other words, the Grim Meathook Future is the one that looks like the present, the one where nothing changes."

"Hacking is disruptive, and whether you code software, write books, or film movies, I believe bringing anything new into the world is a disruptive act. By being novel and compelling, the new is likely to replace something else and that something else isn’t being replaced without a fight." Great stuff from Rands.

"...a whole art form has developed in my lifetime. I remember for the first time reading: "Happy families are all alike; every unhappy family is unhappy in its own way." I remember the first time I heard: "I believe in America. America has made my fortune." And I remember standing in an open field, west of a white house, with a boarded front door. There is a small mailbox here." This is quite baggy and in places unfocused, but every now and then, there are moments of sharp focus. Most notably: the relation of the impulse to write to the impulse to play games (an escapist impulse in Prebble's mind, but that's not a bad one), and the understanding that 'culture is culture'.

"The point isn't nostalgia, that things were better in simpler times, but that the conditions we create (deliberately or accidentally) for and around the practices we pursue have a tremendous influence on the ways we carry out those practices. In the case of computer programming in particular, the apparent benefits of speed, efficiency, accessibility, and other seemingly "obvious" positive virtues of technical innovation also hide lost virtues, which of course we then fail to see." Culture as a byproduct of conditions.

"Film and television are in many ways a technological enhancement and hybridization of older broadcast media, such as the novel, the play, or the album, but they are still fundamentally part of the broadcast culture paradigm. Games, I believe, are not part of the same paradigm. Games belong to a different paradigm that includes the oral tradition of storytelling, improvisational music, sport, dance, philosophical debate, improv theatre, and parlour games (among many other cultural forms)." A tiny fragment of a great post from Clint (which is really, really wanting to make me return to Far Cry 2 soon).

"Software development is not pure coding, engineering, architecture, management, or design. It is cross-disciplinary. Better yet, it is its own discipline. It is more akin to making a movie than to building automobiles on an assembly line. The studio revolves around talent. Great software talent means renaissance developers who have passion, creativity, discipline, domain knowledge, and user empathy. These traits are backed by architecture, design, and by technical know-how that spans just knowing the technology flavor of the day. Process is the studio; it has structure but is flexible enough to optimize talent and tools." This post is as dogmatic as what it rails against, but it's good at finding flaws in dogma and then pushing towards a more sympathetic view. And this paragraph is the best bit.

"A great deal of what is called `digital art’ is not digital art at all, and it seems many digital artists seem ashamed of the digital. In digital installation art, the screen and keyboard are literally hidden in a box somewhere, as if words were a point of shame. The digital source code behind the work is not shown, and all digital output is only viewable by the artist or a technician for debugging purposes. The experience of the actual work is often entirely analog, the participant moves an arm, and observes an analog movement in response, in sight, sound or motor control. They may choose to make jerky, discontinuous movements, and get a discontinuous movement in response, but this is far from the complexity of digital language. This kind of installation forms a hall of mirrors. You move your arm around and look for how your movement has been contorted."

"I've long held that all media transit from being "functional" to "art" when they are no longer economically viable. It is that transition which dampers the cost and the consequence of failure and makes the space necessary for people to experiment and play. Think of lithography which was born of purely utilitarian needs and sherparded the arrival of the mass-produced image only to become capital-O objects as soon as the offset press was invented." I love Aaron.

"And all this time I can’t help thinking that this was because I’m working with games. If I was a fimmaker, this is issue would never crop up. But games have to constantly defend their status as a way of creative expression. When creating games, you are by default suspected of either selling out or producing nothing of value what so ever. Or both." Seriously, Vimeo need to sort this out: it's embarrassing, and contrary to the messages they send out.

"It's not enough to hope that games might be redeemed as fine art or to be played by people of all ages and backgrounds. Instead, video games' cultural future depends on a rich, diverse, magical ecosystem of weird games of all shapes, sizes, and purposes helping multitudes of people pursue a variety of goals and passions. It's not that games need to "rise to the level" of books and films and the like, but that they need to spread like those media into all the nooks and crannies of human activity. The more deliberately creators populate such an ecosystem, the harder it will become for games to become pawns in the debates of others."

"But to my eye, GIF is the most popular animation and short film format that's ever existed. It works on smartphones in millions of people's pockets, on giant displays in museums, in web browsers on a newspaper website. It finds liberation in constraints, in the same way that fewer characters in our tweets and texts freed us to communicate more liberally with one another. And it invites participation, in a medium that's both fun and accessible, as the pop music of moving images, giving us animations that are totally disposable and completely timeless."

" I think Zemeckis and Gale knew all the timely accoutrements signifying "the present" in Back To The Future would inevitably look like 1985 within just a couple of years; in fact, they were banking on it. Zemeckis and Gale were trying to create an archetypical representation of 1985 just like they did for 1955, with its soda fountains, social repression, and subjugated black people. In this way, Back To The Future only gets better the further we get from the '80s. Everything that defines Marty McFly—how he walks, talks, acts, and dresses—acts as instantly recognizable shorthand for the year he comes from." This is great.

"[Mayo is] making a dummy RFID-reader surface for us to mount on a subway turnstile, as well as a companion piece for the MetroCard vending machine. The challenge here is to avoid imposing our own designerly tastes on these artifacts; if we want them to be convincing at that all-important subliminal level, we have to try and imagine them as an extension of the MTA’s existing graphic vocabulary.

And that, in turn, means capturing a certain kind of municipal badness in the design of type and signage: inapposite font selection, clumsy kerning and so on. It’s an odd and demanding kind of discipline — especially for us, with our marked preference for the Vignelliesque."

"Deep craft is more than knowledge. It is a set of knowings. Knowing what is likely to work and what not to work. Knowing what methods to use, what principles are likely to succeed, what parameter values to use in a given technique. Knowing whom to talk to down the corridor to get things working, how to fix things that go wrong, what to ignore, what theories to look to. This sort of craft-knowing takes science for granted and mere knowledge for granted. And it derives collectively from a shared culture of beliefs, an unspoken culture of common experience." Craft / scenius / place / knowledge. The W Brian Arthur sounds great, and Matt's point - that building strength in a sector is building culture, and that requires investment in something that won't see immediate returns (rather than "five-year plans" and "strategies") is acute. Very good stuff.

Lovely trailer from BBC America for Law & Order UK. Sadly, it illustrates roughly what the British trying to make American-style procedural drama looks like. Lots of slamming things down. And tea. (Although: they don't know what "knackers" means, clearly.)

"If Love Actually (2003) is of any worth whatsoever, other than to help DFS sell leather sofas every 5 minutes on boxing day evening, it is as the full stop at the end of an era in British cultural and political history that we should probably not mourn. I would suggest that the era in question lasted from 1992-2003, between John Major's General Election victory (and immediate capitulation to the foreign exchange markets) and the Iraq War. John Major originally coined the phrase to define this era: "a nation at ease with itself". Richard Curtis erected its most banal and characteristically saccharin monuments." This is great.

"In an astonishing move, the European Com mis sion (EC) has reversed a decision made in a UK tax tribunal, and refused to classify works by Dan Flavin and Bill Viola as “art”. This means that UK galleries and auction houses will have to pay full VAT (value added tax, which goes up to 20% next year) and customs dues on video and light works, when they are imported from outside the EU. The decision is binding on all member states." Very sad.

"Words in other languages are like icebergs: The basic meaning is visible above the surface, but we can only guess at the shape of the vast chambers of meaning below. And every language has particularly hard-to-translate terms, such as the Portuguese saudade, or "the feeling of missing someone or something that is gone," or the Japanese ichigo-ichie, meaning "the practice of treasuring each moment and trying to make it perfect."" Lovely little article on the untranslatable.

"I know which side I'm on: the more books I write, the more convinced I become that what we encounter in a novel is not selves, but networks; that what we hear in poems is (to use the language of communications technology) not signal but noise. The German poet Rilke had a word for it: Geräusch, the crackle of the universe, angels dancing in the static."

"But we have got the resources to save ourselves. General perception of games is jammed as masturbatory power-fantasy, sure, but the talent is hardly lacking. So let’s plea to them: we need a Joyce, or a Waste Land, or something you have to play with an abridged notes guide over your knee as you rip through it, something hardcore in its modernism that wants to make you work, make you sweat for its charms. We need cultural elitism to save ourselves." I am really, really enjoying Five Players at the moment.

"The history of roads is the history of ourselves: our desire for community and our fears about its fragility; our natural instinct to expand the possibilities of life set against our premonitions of death, destruction and loss; and our fierce arguments about what is valuable and beautiful about the world. But this history, like the road itself, is full of loose ends and detours, unfinished stories and stalled narratives."

"ASBOrometer is a mobile application that measures levels of anti-social behaviour at your current location (within England and Wales) and gives you access to key local ASB statistics... This app was created by Jeff Gilfelt and made possible by the data.gov.uk initiative, which is opening up UK government data for public reuse." What sensationalist rot; no number of pretty visualisations make this kind of fearmongering acceptable. It's nice that the data is open; it's a shame this is the best thing people can think to do with it. Whether you like it or not, this information is very, very loaded.

"As an industry, we need to understand that not wanting root access doesn’t make you stupid. It simply means you do not want root access. Failing to comprehend this is not only a failure of empathy, but a failure of service."

"...it's high time we began to understand games on their own terms, with all the potentials and dangers that entails: as arguably the most powerful models we have for connecting and motivating, and understanding those vast, disparate groups of people a digital age throws together." Short interview with Tom Chatfield in the Observer.

"I wonder what Tulon Ethabathel the Dwarf is doing right now." A US brain surgeon talks about his interest in gaming, the amount of time he gives it - very little - but the nontheless-important role it plays in his life. Lovely article, really; well-crafted and thought-provoking.

"4chan is, I contend, the most interesting angle we have on the evolution of human consciousness. It is a shamanic experience, a bardo of becoming, where the soul is detached from the body, set free to wander in the wilderness of banality until it encounters the epic lulz of meeting itself... and finding that it, itself, is the most disturbing thing on 4chan." o_O. Just worth linking to for the eyeball-expanding prose; there may be something in there, but I'm not sure.

"Perhaps the Shoreditch startups are more effective than their Dutch counterparts not just because they do more with less... but because they are in London. A city at a different scale than Amsterdam or for that matter the greater Amsterdam area, the Randstad as we call it around these parts. A city with a more diverse ecosystem of services and things, smaller services, more specialised services, ready to be employed by companies like BERG and RIG and Tinker, enhancing their abilities when needed."

"But we are spoiled. Spoiled to the core. As a kid, when I skipped to the Odeon to see Watership Down, popping back via my granddad's house, if he asked me what I'd watched, I'd recount it in glorious detail. It was the 70s. He didn't do spoilers. He was a grown man. He'd spent two years in a trench during the Battle of Monte Cassino getting his hair parted by bullets, so whether Hazel the cartoon rabbit got squashed while out hunting cartoon carrots wasn't really his concern." I am largely spoiler-immune; I always argue that *how* something happens is more important than *what*. Apart from, you know, the massive ones that are at the core of things. Anyhow, Grace Dent doesn't care either.

"On the contrary, the quick wins of some big ticket consulting sessions sell our discipline short by pretending that design is some magical elixir that can be poured into a situation and zammo everything is fixed up. Like accounting, medicine, and just about every other profession, design is a practice which is persistently useful at regular intervals. If anything, during this transitional period where business and government are slowly coming to terms with the potential yield of having design as an integral part of the conversation it behooves us to collectively seek longer engagements, not shorter." Some excellent stuff from Bryan Boyer.

"...maybe this is the best of both worlds. An audience that, having crossed the barriers to entry, is by its nature more invested in our work; a public profile by which we have the means to occasionally reach into the mass consciousness, but which affords us the freedom to continue experimenting with subject, form, and style; an industry which is truly international; which is capable of producing both multi-million dollar blockbusters and single-creator labors of love (and releasing both on the same platform); which manages to be neither too big nor too small, and is the more vital, unique and exhilarating for it. We are a medium for us, and while there are more and more of us every day, we'll never be for everyone. In a way, that's beautiful." I think Steve's about right.

"...he and his brethren were plotting a future in which all writers and musicians would be at the mercy of the mathematicians and the electronic and numerological world they have created. Art is now content. It merely embellishes a "platform" of the kind I struggle to read about in the media pages which are now indistinguishable from the technology pages." I like Andrew Martin's writing a lot, but this article is both rubbish and angry-making. Grr.

"...the ongoing charm and usefulness of the animated .gif lies in this very economy. Like a good one-liner, the animated .gif can tell a joke with the impact of a one-inch punch, trimming away the fat of unnecessary frames to deliver its message with streamlined effectiveness." All too true. And Simon gives me my own discovery of the day

"This is a selected list of gairaigo, Japanese words originating or based on foreign language (generally Western) terms, including wasei-eigo (Japanese pseudo-Anglicisms)." One of my new favourite Wikipedia pages; there is some fascinating stuff in here.

"The weird thing is that you can view these “wholesome” games as being just as bad for girls as Grand Theft Auto’s random bloodshed and rampant criminality is for young, impressionable boys. And while GTA’s influence on boys has been dissected to death, what about the Nintendo DS’ upcoming avalanche of games for tween girls? What kinds of values do preteens learn from these titles? Valuable life lessons, or bad habits?" As bad as GTA? Many, many times worse, if this sample is anything to go on.